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原创艺术品 (One Of A Kind)
绘画,
丙烯
/
木
/
粘土
在木上
- 外形尺寸 高度 84.7in, 宽度 51.2in
- 艺术品状况 工作状况非常好
- 是否含画框 此作品未装裱
- 分类 画作 低于US$20,000 观念艺术 舞蹈
I feel that, in every moment when the soles of my feet meet the ground, “now” becomes concentrated in my senses. However, this “now” is not just the present moment, but rather a sense of naka-ima (a temporal concept of the "moment between" past and future), where the way I perceive the world subtly shifts, as if turning inside out.
Within the rectangular space of the canvas, the marks of my toes and the traces of my feet intersect and overlap. These marks are not merely records of movement, but rather the crossing of body, time, space, and gravity, creating invisible layers within the space of the canvas.
Meanwhile, the shoe-shaped object quietly placed in the upper-left corner seems to exist outside of this flow. It serves as a material manifestation of the idea that “someone has been there,” while also carrying a sense of absence, of “no longer being here.” If the footprints are records of passage, the shoe-shaped object may symbolize the beginning or end of that journey. In the midst of the flowing passage of time on the canvas, this object appears to float slightly above the gravitational pull, and it is this subtle discordance that draws my attention.
The title, "Pluto," refers to the celestial body that was once classified as a planet but was later redefined and now exists on the periphery of the solar system. Its ambiguous, boundary-defying nature resonates with the positioning and nature of the object in this work. However, when asked how consciously I intended these placements, I cannot say with certainty. Throughout the process of making the work, there were many instances where I acted without fully understanding the reasoning behind my choices, yet through them, I encountered moments of realization that gradually shaped the piece.
If the Earth itself lives in a state of naka-ima, suspended between time, then perhaps my footprints represent a “point” in the intersection between Earth and the cosmos.
This piece was born through the exploration of such ideas, as I gently confirmed the space between imagination and experience.
相关主题
I am an artist who works with signs as my material. Motifs such as soles of the feet, shoe shapes, ribbons, and language appear repeatedly in my work, functioning as "signs" embedded within layers of personal memory and cultural sediment. Among them, footprints hold a particularly significant position—not merely as bodily traces, but as signs that embody actions, time, and meaning. They carry information such as “who,” “how,” and “in which direction” someone existed, serving as symbols that evoke culture, memory, and narrative. I treat them as sign-based points of contact that visualize the invisible.
My interest lies in the process through which signs become present via bodily acts, connect with materiality, and are restructured as meaning. For example, the act of writing letters with the trace of a foot reconstructs abstract language into something material and improvised—a “point of contact” where meaning blurs and begins to sprout anew. In works like the shoe shaped sculpture and parts of the Hidden Gesture series, I often use grid paper to plan forms prior to production, basing compositions on balanced ratios such as 5×7 (silver ratio) and 5×8 (golden ratio). Rather than relying solely on physical gestures, I aim for a coexistence of chance and structure by grounding my work in invisible orders.
For me, signs are not static entities but living structures within movement and relationships. Motifs such as shoe shapes or ribbons are not mere symbols; they function as devices that mediate between body and society, self and collective, past and future. My practice is a conceptual endeavor that explores the in-between of visible and invisible, thought and sensation, chaos and order through signs. Rather than reconciling opposing forces such as East and West, my work dwells within their tension.
The forms that appear in my work are never ends in themselves—they are always temporary borrowings used to mediate the questions that arise within me. Figurative and abstract, painting and sculpture, bodily traces and symbolic ribbons—all are chosen for their mediating potential and eventually recede. I create at the intersection of intuition and concept. My selection of forms and gestures is neither dictated solely by intellect, nor overwhelmed by sensation. Rather, I aim to remain within a state of "mediation" in all such acts.
